The Theater at Gibney 280 Broadway
280 Broadway between Chambers & Reade Sts.
December 5-7, 12-14, 19-21, $15-$20, 8:00
Gibney’s annual DoublePlus program, in which established artists mentor pairs of emerging choreographers, kicks off December 5-7 with Pilipinx-American producer, administrator, contemporary performance manager, and Current Sessions founder Alexis Convento curating works by Korean and black American interdisciplinary artist Dana Davenport and composer and vocal artist Samita Sinha. Davenport will present the new movement piece Experiments for ~Relaxation~, while Sinha debuts Kaalo Jol (“Black Waters”), a duet with Sunny Jain on dhol on Thursday and guitarist Grey Mcmurray on Friday and Saturday. The December 6 show will be preceded at 7:00 by a free Living Gallery site-specific performance of Capital-D Dance by Brooklyn-based dancer, writer, and producer Tara Sheena. The series continues December 12-14 with Alexander Diaz’s Getting closer to Coral and Jennifer Harrison Newman’s topologies, curated by Charmaine Warren, and December 19-21 with Laurel Atwell’s We Wield and Hyung Seok Jeon’s Deep Out Agents, curated by Tei Blow.
Elisa Monte Dance takes the emotional temperature of America in Emerged Nation, making its world premiere November 21-24 at the Flea. Choreographed by company artistic director Tiffany Rea-Fisher, the evening-length work explores issues of immigration, culture, and diversity in three movements; the piece is performed by Tracy Dunbar, Katherine Files, Jenny Hegarty Freeman, Daniela Funicello, Hannah Gross, Madelyn LaLonde, Ashley LaRosa, and Sai (Napat) Rodboon, with lighting by Michael Cole and a score by DJ Twelve45 and ambient chamber music composer Kevin Keller. Emerged Nation opens with “Tilted Arc,” which was commissioned by the DOT for the 2017 Summer Streets program and references Richard Serra’s controversial 1989 sculpture in Foley Square, followed by “Emerged Nation,” which examines black and Native American cultural assimilation in the States, and “Kinetic Kinship,” which delves into New York City’s reputation as a melting pot.
“Moving into Elisa Monte Dance’s thirty-ninth season, I wanted to reprise and expand my seminal work, ‘Tilted Arc,’ into an evening-length work. When I revisited this repertory piece, I felt that it left questions that needed to be answered about mine and so many others’ struggle to find a cultural place in America. This work takes the audience on my journey of self-exploration,” Rea-Fisher said in a statement. The November 23 performance will be followed by a talkback with Rea-Fisher, the composers, and other members of the cast and crew. And be on the lookout for the HP Reveal App that will enhance the experience.
312 West 36th St. between Eighth & Ninth Aves.
Tuesday - Sunday through November 24, $25
In 1957, thirty-two-year-old writer and journalist Truman Capote was sent to Kyoto by the New Yorker to do a story on thirty-three-year-old actor Marlon Brando, who was in Japan making Sayonara, Joshua Logan’s movie based on James Michener’s novel about an air force pilot who falls in love with a Japanese dancer during the Korean War. Husband-and-wife team Reid and Sara Farrington use the resulting article, “The Duke in His Domain: Marlon Brando, on Location,” as the jumping-off point for the multimedia production BrandoCapote, continuing at the Tank through November 24. The seventy-minute show, set in the hotel where Capote is interviewing Brando, also incorporates elements of Capote’s 1965 nonfiction novel, In Cold Blood, an investigation into the senseless murder of the Clutter family in Kansas by Dick Hickock and Perry Smith, as well as the tragic circumstances surrounding Brando’s son Christian, daughter Cheyenne, and Cheyenne’s boyfriend, Drag Drollet.
As they have done in such previous dazzling works as The Passion Project, CasablancaBox, Gin & “It,” and A Christmas Carol, the Farringtons use film clips to propel the narrative, projected with pinpoint precision onto Japanese fans and umbrellas that the five-person cast open up and turn toward the audience. For example, a clip of Brando as Col. Kurtz in Apocalypse Now asking, “Are you an assassin?” is followed by Capote answering, “No no no, I’m a journalist!” The dialogue is a compelling, sometimes confusing patchwork, with some lines spoken live by the actors onstage — Rafael Jordan as Brando, Jennifer McClinton as Capote, Lynn R Guerra as Brando’s mother, Dodie, Laura K Nicoll as Cheyenne, and Cooper Howell as Christian — some from the film clips, and others prerecorded audio snippets (with Sara Farrington and Akiyo Komatsu delivering different vocal impressions of Capote), in which case it is sometimes lip-synced, causing a panoply of beguiling chaos. “He paused, seemed to listen, as though his statement had been tape-recorded and he were now playing it back,” Capote writes of Brando in the article.
Dressed in colorful kimono designed by Andre Joyner and constructed by Kelvin Gordon-El, the actors move to intricate choreography by Nicoll based on Japanese noh, bunraku, and kabuki traditions that repeats continually throughout the show, as if the director is yelling “Cut!” and the scene is being done over. “Sorry, sorry. Lemme start over. I’m gonna get this right,” Brando says after re-creating a violent scene from A Streetcar Named Desire. There are also excerpts from On the Waterfront, Mutiny on the Bounty, Julius Caesar, Last Tango in Paris, The Missouri Breaks, Sayonara, The Godfather, and other Brando films, many of which deal with childhood and the relationship between parents and children. “The son becomes the father, and the father the son,” Brando as Kal-El says to his infant son in a clip from Superman. “You are all my children,” Brando as Dr. Moreau tells his hideous creations in The Island of Doctor Moreau. Meanwhile, Brando threatens to kill his father if he ever beats his mother, a wanna-be actress, again. And after being called a “sissy” by other kids, Capote says of the bullies, “Buttoned up, boring, faceless nobodies — the kind of son my mother always wanted.”
Chairs and tables are overturned, carried offstage, then brought back on as the characters fold up and then ritualistically unfurl long black-and-white or red obi sashes, placing them carefully across the floor. Someone calls out, “Let’s get back to the interview,” and a sound glitch takes the action back to Capote in the hotel, which doubles as purgatory. It all comes off like clockwork, which is fascinating to experience. It is also repetitive in an abstract way, which can be both titillating and aggravating. But it’s always stimulating, both aurally and visually. “I’m not an actor,” Brando says self-effacingly. “I’m a mimic. Everyone is. And I’m not successful.” However, BrandoCapote is, in part by not merely mimicking its two famous celebrities but taking their story to another level.
Under new artistic director David Binder, BAM’s 2019 Next Wave Festival consists exclusively of BAM debuts, with none of the familiar names that regular BAMgoers are used to seeing time and time again. About the closest you’re going to come is The Great Tamer, conceived, visualized, and directed by Dimitris Papaioannou, a former painter and comics artist who is the first person invited to create a piece for Tanztheater Wuppertal since BAM legend Pina Bausch’s death in 2009, Since She, which premiered last year. The Greek choreographer is now bringing his widely hailed The Great Tamer world tour to the Howard Gilman Opera House, where it runs November 14-17. Don’t let the title fool you; there’s nothing tame about this one-hundred-minute work, which features a Kubrick-esque astronaut, ample nudity, absurdist sculptural installations, nods to art history, bits of magic, and an unpredictable integration of humanity, nature, and technology, all set to Stephanos Droussiotis’s adaptation of Johann Strauss II’s Blue Danube. The wild piece is performed by Pavlina Andriopoulou, Costas Chrysafidis, Ektoras Liatsos, Ioannis Michos, Evangelia Randou, Kalliopi Simou, Drossos Skotis, Christos Strinopoulos, Yorgos Tsiantoulas, and Alex Vangelis, with sets by Tina Tzoka, costumes by Aggelos Mendis, lighting by Evina Vassilakopoulou, and sculptures by Nectarios Dionysatos. Prepare to be awed.
333 East 47th St. at First Ave.
November 14-16, $97, 7:30
Japan Society’s Emperor Series, celebrating the ascension of Emperor Naruhito to the Chrysanthemum Throne in May, concludes with a special program that includes a noh play created for Emperor Taishō’s ascension to the throne in 1912. In honor of the era turning from Heisei to Reiwa, Kurouemon Katayama X will stage Taiten, portraying the god Amatsukami, wearing a Mikazuki mask as he descends from the heavens for a ritual dance. The work is rarely performed; in mounting the Reiwa version, Kurouemon X was influenced by notes left by his father and grandfather from the 1912 original commission. In addition, Noritoshi Yamamoto and members of his family will perform the comedic kyogen play Kagyu (The Snail), in which a servant is sent to gather up snails but collects a traveling priest instead, thinking it is the shelled gastropod.
The show runs November 14-16, at the same time the succession rites, known as the Daijosai, or the Great Thanksgiving Ceremony, are taking place at the Imperial Palace in Tokyo. The November 14 performance will be followed by a soirée, and Japan Society will host a noh workshop with actors from the Kyoto Kanze Association on November 15 at 1:00 ($60) and a kyogen workshop with members of the Yamamoto Tojiro Family of the Okura School of Kyogen on November 16 at 1:00 ($60). This is a rare chance to experience these works, so tickets are going fast despite their relatively high cost for a Japan Society event.
The New York City-based Tiffany Mills Company returns to the Flea, where it presented Blue Room last year, for the world premiere of Not then, not yet, running November 13-16 at the downtown theater. The work is a collaboration between dancer-choreographer Mills with Puerto Rican composer and multi-instrumentalist Angélica Negrón, a founding member of Balún who writes electro-acoustical music for toys, robotic instruments, accordions, ensembles, and orchestras, and Brittany-born neoclassical composer and singer Muriel Louveau; Negrón and Louveau teamed up last week with dancer-choreographer Emily Marie Pope for the improvisational Isterica at National Sawdust, where Negrón is the current artist in residence. Not then, not yet explores transitions through space and time, inspired by the early writings of Mary Wollstonecraft Shelley dealing with creation and destruction, isolation, and endings and beginnings. The evening-length piece will be performed by Mills, Pope, Jordan Morley, Kenneth Olguin, Nikolas Owens, and Mei Yamanaka, with lighting by Chris Hudacs and costumes by Pei-Chi Su. Tickets are $15-$20 except for Friday night’s benefit, which are $50 and includes a postshow reception.
November 1-24, free - $50
The eighth annual Performa Biennial kicks off today, celebrating the hundredth anniversary of the Staatliches Bauhaus, the German art school founded in 1919 by Walter Gropius that set in motion a major movement in art, architecture, and design around the world. There will be dozens of performances across disciplines, including film, dance, theater, music, installation, and unique hybrids, often incorporating architectural and sculptural elements, as well as conversations and panel discussions through November 24. The price for ticketed events range from $10 to $50, with most around $15-$25; among the highlights are artist Nairy Baghramian, dancer-choreographer Maria Hassabi, late modernist designer Janette Laverrière, and architect Carlo Mollino’s Entre Deux Actes (Ménage à Quatre), taking place on two floors of a Fifth Avenue town house; Lap-See Lam’s Phantom Banquet, a multimedia performance piece about ghosts and Chinese restaurants in Sweden; Pat’s You’re at Home, a one-night-only collaboration between Jacolby Satterwhite and Nick Weiss; Yvonne Rainer’s restaging of her seminal 1965 work Parts of Some Sextets, with new choreography and a recording of the original score; Huang Po-Chin’s Heaven on Fourth, which tells the story of a Chinese immigrant sex worker who committed suicide in Flushing in 2017; and the grand finale, Radio Voices, led by David J of Bauhaus and Love & Rockets with special guests Curse Mackey, Rona Rougeheart, Vangeline, and Heather Paauwe. But there are also dozens of free shows in cool locations, from museums and art galleries to outside on the street, most of which do not require advance RSVP; the full list is below.
Friday, November 1, 4:00 - 8:00
Saturday November 2, 4:00 - 8:00
Sunday, November 3, 2:00 - 6:00
Zakaria Almoutlak and Andros Zins-Browne: Atlas Unlimited: Acts VII–X, with the voices of Ganavya Doraiswamy and Aliana de la Guardia, 80 Washington Square East
Friday, November 1
Sunday, November 24
Ylva Snöfrid: Nostalgia — Acts of Vanitas, daily painting performance ritual, fifth-floor loft at 147 Spring St.
Saturday, November 2
Shu Lea Cheang, Matthew Fuller: SLEEP1237, Performa Hub, 47 Wooster St., 5:50 pm - 6:25 am
Gaetano Pesce: WORKINGALLERY, Salon 94 Design, 3 East Eighty-Ninth St., 2:00 - 4:00
Saturday, November 2
Sunday, November 24
Yu Cheng-Ta: “Fameme,” live and filmed performances about reality television, Wallplay, 321 Canal St.
Tuesday, November 5
Tara Subkoff: Deepfake, the Hole, 312 Bowery, 7:00
November 6, 13, 16, 20
Luca Veggetti with Moe Yoshida: From Weimar to Taipei (Roland Gebhardt-Mercedes Searer’s Selfdom, Luca Veggetti’s Fourth Character, Chin Chih Yang’s Black Hole, Rolando Peña’s Less Is More), WhiteBox Harlem, 213 East 121st St., 7:00
Thursday, November 7
Yahon Chang: Untitled, Performa Hub: Deitch Projects, 18 Wooster St., 5:00
Sarah Friedland: CROWDS, three-channel video installation of durational dance, La MaMa La Galleria, 47 Great Jones St., 6:00
Saturday, November 9
Pia Camil and Mobile Print Power: Screen Printing Workshop, Queens Museum, 1:00
Niels Bolbrinker and Thomas Tielsch: Bauhaus Spirit: 100 Years of Bauhaus, Goethe-Institut New York, 30 Irving Pl., 3:00
Duke Riley: Non-Essential Consultants, Inc., Red Hook Labs, 133 Imlay St., 6:00
Sunday, November 10
Glendalys Medina: No Microphone, Participant Inc., 253 East Houston St. #1, 4:00
Sunday, November 10, 17, 24
Glendalys Medina: The Shank Live, Participant Inc., 253 East Houston St. #1, 8:00 am
Monday, November 11
Nkisi: Listening Session, Performa Hub, 47 Wooster St., 6:00
Monday, November 11
Sunday, November 17
Dimitri Chamblas, Sigrid Pawelke: UNLIMITED BODIES, Performa Hub: Deitch Projects, 18 Wooster St., 12:00 and/or 1:00
Tuesday, November 12
Huang Po-Chih, Su Hui-Yu, Yu Cheng-Ta: “The Afterlife of Live Performance” Panel Discussion, Performa Hub, 47 Wooster St., 6:00
Adam Weinert: Monuments: Echoes in the Dance Archive, the New York Public Library for the Performing Arts, Bruno Walter Auditorium, 111 Amsterdam Ave., 6:00
Tuesday, November 12, 19
Glendalys Medina: Dear Me, Participant Inc., 253 East Houston St. #1, advance RSVP required, 4:00 - 9:00
Wednesday, November 13
Paul Maheke, Ligia Lewis, Nkisi: Levant, Goethe-Institut Cultural Residencies, Ludlow 38, 38 Ludlow St., 6:00
Thursday, November 14
The New Blockheads: The Brotherhood of the New Blockheads, the Mishkin Gallery, 135 East Twenty-Second St., 6:00
Friday, November 15
Bauhaus at the Margins: Gender, Queer, and Sexual Politics, Performa Hub, 47 Wooster St., 6:00
Heman Chong, Fyerool Darma, Ho Rui An, and Erika Tan: As the West Slept, Silver Art Projects, 4 World Trade Center, twenty-eighth floor, 7:00
Saturday, November 16
“A School for Creating Humans”: Bauhaus Education and Aesthetics Revisited, Performa Hub, 47 Wooster St., 1:00
Sunday, November 17
Bodybuilding: Architecture and Performance Book Launch, including a lecture-performance by New Affiliates (Ivi Diamantopoulou and Jaffer Kolb), Performa Hub, 47 Wooster St., 4:00
Lap-See Lam in conversation with Charlene K. Lau, Performa Hub, 47 Wooster St., free with advance RSVP, 4:00
Tuesday, November 19, 6:00
Sunday, November 24, 8:00
Éva Mag: Dead Matter Moves, production of clay bodies, the Gym at Judson Memorial Church, 243 Thompson St., 1:00 - between 5:00 & 8:00
Tuesday, November 19, 6:00
Friday, November 22, 8:00
Torkwase Dyson: I Can Drink the Distance: Plantationocene in 2 Acts, multimedia performative installation, Pace Gallery, 540 West Twenty-Fifth St.
Thursday, November 21
Machine Dazzle, Narcissister and Rammellzee: Otherworldly: Performance, Costume and Difference, Aronson Gallery, Sheila Johnson Design Center at Parsons School of Design, 66 Fifth Ave., 6:00
Sarah Friedland: CROWDS — Conversation with Tess Takahashi, La MaMa La Galleria, 47 Great Jones St., 7:00
Thursday, November 21, 6:00
Saturday, November 23, 1:00 & 3:00
Sunday, November 24, 1:00 & 3:00
Tarik Kiswanson: AS DEEP AS I COULD REMEMBER, AS FAR AS I COULD SEE, featuring eleven-year-old children reading his writings, Alexander Hamilton US Custom House, 1 Bowling Green, free with advance tickets
Friday, November 22
Tarik Kiswanson: AS DEEP AS I COULD REMEMBER, AS FAR AS I COULD SEE: In Conversation with Performa Curator Charles Aubin, Performa Hub, 47 Wooster St., 5:00
Saturday, November 23
Cecilia Bengolea, Michèle Lamy: Untitled Performa Commission, featuring boxers and ballet, dancehall, vogue, and contemporary dancers, Performa Hub: Deitch Projects, 18 Wooster St., 4:00
Sunday, November 24, 8:00
Éva Mag: Dead Matter Moves — In Conversation with Camilla Larsson and Yuvinka Medina, the Gym at Judson Memorial Church, 243 Thompson St., 3:00